Find Out More About Me!

Monday, May 20, 2019

TBR [to be read] is a semi-regular, invitation-only
interview series with authors of newly released/forthcoming, interesting books
who will tell us about their new work as well as offer tips on writing, stories
about the publishing biz, and from time to time, a recipe!

Give us your elevator
pitch: what’s your book about in 2-3 sentences?

THE BOOK OF JEREMIAH tells the story of awkward but
endearing Jeremiah Gerstler—son, father, husband, academic, Jew—who tries over
the course of his life to be the best person he can, and who will inspire his
readers to do the same. Jumping backwards and forwards in time to hone in on
various periods in Gerstler's life, this novel-in-stories offers a sensitive
and nuanced portrayal of some of life's most painful and private moments.

Which story did you
most enjoy writing? Why? And, which story gave you the most trouble, and why?

The story that appears last in the book — “MixMaster” — when
Jeremiah is 82, is actually the first one I wrote. He’s crusty but loveable,
exasperating and charming. I was immediately taken with Jeremiah’s character,
and as soon as I finished this story, I knew wanted to write an entire book
unraveling is life. Ironically, his daughter, Hannah, who is closest in age and
generation to me, was the hardest to write, perhaps because of that closeness.

Tell us a bit about
the highs and lows of your book’s road to publication.

I thought I was done writing all the stories after about
three years. I’d submit and submit and submit, occasionally getting published,
occasionally getting nice feedback (a handwritten note on my rejection from The Atlantic! A “we found much to admire
in your story” rejection from The New Yorker!!),
but I ultimately realized that some of the stories needed more work. In some
cases, I threw out the original story completely, keeping only the year and the
setting from the original. From the first story until the last major revision
took about five years. I didn’t try to get an agent; I went directly to small/independent
presses. Thus began a new cycle of rejections, though many were complimentary.
And then, in April 2018, I received an email from Press 53 that began,
“Congratulations….” I had to read the email four or five times to make sure my
eyes weren’t deceiving me.

I’m now writing these words two days after my local book
launch. What a thrill and honor it was to celebrate with my close friends and
family. I’m still floating.

What’s your favorite
piece of writing advice?

Always keep honing your craft. Around the time I thought I
was done with the writing, I met a writer and teacher whose first book was just
coming out. I asked her what else I should be doing, and she gave me that
advice. It didn’t matter that I don’t have an MFA and that I live abroad, I
could seek out online classes, she said. Not only has my writing improved as a
result of taking classes through One Story, Gotham, Catapult, Grub Street, and
Kathy Fish, but I’ve met wonderful writer friends from all over the world.

My favorite writing
advice is “write until something surprises you.” What surprised you in the
writing of this book?

Since I was writing backwards in time, it was some of the actions
of the characters when they were younger that surprised me. When you first
encounter Molly, Jeremiah’s wife, she’s 72, the rock of her family, a stable
and supportive mother and wife. But as the book goes on, we see some new sides
of her. In the first few stories I wrote, I hadn’t imagined Molly’s younger,
wilder self.

How do you approach
revision?

I’m in a few writing groups, and this feedback is invaluable
in the revision process. On occasion I don’t agree with the comments, so I’ve
had to learn to ignore it. But most of the time, my writing group friends are
very good at distilling the weakest points in the story. Often these are things
that I knew, deep down, are not quite right yet. Whenever there’s a confluence
of their feedback and my gut feeling, I know I’ve got work to do.

Inquiring foodies and
hungry book clubs want to know: Any food/s associated with your book? (Any
recipes I might share?)

The book is full of food references, as Molly, Jeremiah’s
wife, is quite adept in the kitchen, both with cooking and baking. I have a
recipe section on my website: https://www.juliezuckerman.com/fun-stuff

Here’s one for k’neidelach (matzah balls), featured in the
first story. My family eats k’neidelach with chicken soup all year round, not
only on Passover.

1 c. matzah meal

3 eggs

1 tsp chopped parsley

1/4 c. cold water

1/2 c. vegetable oil

Salt & Pepper to taste

​

Mix all ingredients, chill for a couple of hours, mold into balls and
drop into boiling water/soup. Cover pot and cook on low for 30-45 minutes.

Monday, May 13, 2019

TBR [to be read] is a
semi-regular, invitation-only interview series with authors of newly
released/forthcoming, interesting books who will tell us about their new work
as well as offer tips on writing, stories about the publishing biz, and from
time to time, a recipe!

We don’t expect an elevator pitch from a poet, but can you tell us about
your work in 2-3 sentences?

Stay is a book that considers what it costs to remain in an
identity, belief, or geographic area, as well as what it costs to leave those
things. The poems use American songs and stories to think about these costs on
a national and personal level.

Which which poem/s gave you the most trouble, and why?

Someday I’ll Love Ocean Vuong was the poem I probably put the most
hours into; it’s different in structure and tone for me. I usually don’t do
“assignment” poems or try to write a particular kind of poem, but for this poem
I wanted to try to write a Someday I’ll Love. . . poem. I had heard both Ocean
and Roger Reeves read their versions of this (in response to a Frank O’Hara
line) and wanted to see what it would be like for someone other than a man to
write one. I was really pleased that it ended up both reflecting that kind of
poem while not adhering to previous versions. Then it had all those couplets,
which seemed correct for the poem, but drove me crazy. Every time I changed 1
line, it would often mean I had to work on everything after. While I might make
some reading adjustments to it, thank god it’s finally in a stable version in
print.

Tell us a bit about the highs and lows of your book’s road to
publication.

When I was writing my first
book, I had no idea I was writing a book. I was just writing a bunch of poems
and then had to, years later, look back and try to figure out what they all had
in common and how they held together. Stay
was a million times easier. I knew I wanted to end up with a book and I knew it
was all about staying or leaving in some way. While I still had to put together
an order, the whole process felt much simpler.

What’s your favorite piece of writing advice?

Your poem should please you. Your
poem doesn’t have to please other poets or your writing group or your teacher
or your audience. It has to feel right/done/accurate to you and no one else.

My favorite writing advice is “write until something surprises you.”
What surprised you in the writing of this book?

After hearing Timothy Donnelly
and Tim Seibles each (at different readings) read 1 long poem as a whole
reading, I knew I wanted to try making a poem that sweeping and ambitious.
While it didn’t quite end up to their works, I loved the way txt me im board ended up as the center
poem, the poem you work your way to and away from. It became a poem I could
organize the book around.

Who is your ideal reader?

I think a lot about who is going
to hear/read these poems and what they will get from them. My ideal reader is unaffiliated
with a university; they feel left out of or adjacent to power. They are
surprised to hear/see themselves reflected in art but find the experience
meaningful. They like to make things and clap at the end of poems because they
know it is hard to make anything that works well.

Inquiring foodies and hungry book clubs want to know: Any food/s associated
with your book? (Any recipes I might share?)

The Horseshoe makes an
appearance in Bobby Bare. It’s one of
those great American sandwiches you get at a local joint, and if you ever find
yourself in the flat corn and soybean fields of central Illinois, I highly
recommend one. The cheese sauce in this
one looks a little high-faluting,but
I like that someone in the comments recommends the best places to get one. It’s
probably more of an eaten-out than a made-at-home thing.

Monday, May 6, 2019

TBR [to be read] is a semi-regular, invitation-only
interview series with authors of newly released/forthcoming, interesting books
who will tell us about their new work as well as offer tips on writing, stories
about the publishing biz, and from time to time, a recipe!

Give us your elevator
pitch: what’s your book about in 2-3 sentences?

Dear Scarlet is an intimate and honest look at my struggle
with postpartum depression after the birth of my first child. Written as a
letter to my daughter, my graphic memoir is equal parts heartbreaking and
funny, capturing the ups and downs of life as a new mother.

What boundaries did
you break in the writing of this memoir? Where does that sort of courage come
from?

I wrote this book as an honest telling of what I went
through and didn’t think I was breaking any boundaries until other mothers told
me that my book is much needed. There is extreme pressure on new moms to be
perfect and to embrace motherhood as a wonderful, joyful experience—and if you
don’t find it all that great, you feel ashamed and alone. I’m not sure if Dear Scarlet is courageous, but I tell
the ugly truth about my postpartum experience, and I hope others who are
struggling will feel encouraged by it.

Tell us a bit about
the highs and lows of your book’s road to publication.

So many lows, so many highs! I began the book in 2015,
writing and illustrating it over nine months. I finished my second draft and
began querying in the summer of 2016, eventually landing a U.S. agent a few
months later. We went out on submission in mid-2017 and, by the fall, had been
rejected by 20+ “Big Five” imprints. Most editors loved the material but didn’t
see it breaking out in the market, either because of the topic or because of
the genre. We got really close in one case, but in the end it all came down to the
profit-and-loss statement.

At the beginning of 2018, my agent dropped me, so I made a
list of indie publishers and began sending my manuscript out in batches. By the
summer, one small press had expressed interest, but they were waiting for their
editorial board to reconvene in the fall before making an offer. That same week
I received an email from Brian Lam, the publisher at Arsenal Pulp Press, who
asked if I had gotten his earlier email containing an offer (I hadn’t!!) and
restating his interest in publishing Dear
Scarlet. They wanted to fast-track the book because they had an opening for
their Spring 2019 lineup. I took Arsenal Pulp’s offer to a Canadian literary
agent, who agreed to represent me and took over negotiations.

What has struck me most about the past year was the number
of people (total strangers) who gave me advice and offered help. I’m part of a
large online writers group for women, and when I lost my agent, so many of them
encouraged me to keep going. One woman even sent an email on my behalf to her
ex-boyfriend, a well-established graphic novelist. He, in turn, introduced me
to his own agent. Even though nothing came of it, I will never forget how kind
and generous people were to me.

What’s your favorite
piece of writing advice?

“If you are
writing the clearest, truest words you can find and doing the best you can to
understand and communicate, this will shine on paper like its own little
lighthouse.” Anne Lamott wrote this in Bird
by Bird, which is a book full of the best writing advice I’ve ever read.

My favorite writing
advice is “write until something surprises you.” What surprised you in the
writing of this book?

I was surprised that I ended up illustrating it myself. I am
a writer, not an artist, and I felt for sure that I’d need to collaborate with
an illustrator to make the book. However, when I showed the first draft to
friends and colleagues, they said that the simple drawings amplify the
vulnerability of the story. They told me it would be a better story if I drew
the thing myself. I’m not entirely happy with all of the drawings in the book
(especially now that I’ve been practicing for a few years), but there are
certain panels that I really do love.

Who is your ideal
reader?

My ideal readers are people who know or want to know what
it’s really like to be a new mother, how big of a change it is and how
difficult it can be, even when you have a baby under ideal conditions (e.g.,
with access to health care and a supportive partner).

Inquiring foodies and
hungry book clubs want to know: Any food/s associated with your book? (Any
recipes I might share?)